PITCHFORK FESTIVAL LONDON 2022: A DYNAMIC AND TRIUMPHANT RETURN

Spanning 14 events across 5 days, Pitchfork Festival London brought an eclectic mix of artists to a range of venues across the capital, proving just why the platform is lauded for taste-making and artist-breaking.

Thursday 10th November: Faye Webster, MICHELLE & Jordana at Islington Assembly Hall

Jordana by Millie Hudson

With five different events on Thursday, prospective punters were spoiled for choice, but VOCAL GIRLS decided to head to Islington Assembly Hall for a night of fevered emotions. Jordana was there to court the early birds with her love letter of a set, which included an immaculate vocal version of the guitar solo in fan-favourite track, ‘Summer’s Over’. Next up was MICHELLE, who successfully sent the primed crowd into a writhing mess with their riot of a performance. 

MICHELLE by Millie Hudson

Headlining the evening was Faye Webster, whose arresting stage presence was transcended to another level by her band. They hooked the crowd right from the opening chord of ‘Better Distractions’, even managing to sneak in a quick yo-yo display. Ending with sleeper hit ‘Kingston’, Webster ultimately pulled the crowd out of its harmonic trance with her final goodbye. An emotionally charged and heart-decimating performance, this was a show which could very well have closed the entire festival.

Faye Webster by Millie Hudson

Written by Satvi Kumar

Friday 11th November: Sister Ray at Shacklewell Arms & KAINA at St Matthias Church

Tucked inside the Shacklewell Arms, Sister Ray - aka the Toronto-based Ella Coyles - recounted the “weird, taxidermy moments from [their] life” that inspired their debut album, ‘Communion’. Take the old Portuguese men she befriended in Montreal, for instance, who provided inspiration for the brooding ‘Power’. Or her native identity, the trauma associated with which is confronted on ‘Good News’. In a vulnerable speech, Sister Ray dedicated their Pitchfork performance to their family, explaining both the sense of “doom” their community feels, but also their hope for the future. Overall, the set was a triumph of feel-good indie folk, and the personal insights made it one to remember long after the end. 

Around the corner, the warmly lit St Matthias Church made a suitably gorgeous setting for KAINA’s first ever London show. Backdropped by her band, the Chicago singer filled the space with vocals that swam between ethereal and soulful. Her upbeat indie was enough to get the crowd bopping along - even while sitting amongst the pews - and their participation in the chorus of ‘Good Feeling’ only added to the night’s uplifting atmosphere. 

Written by Caitlin Chatterton

Saturday 12th November: Okay Kaya at Colour Factory

Norwegian-American artist Okay Kaya enveloped warehouse space Colour Factory for Saturday evening’s portion of Pitchfork Festival London. Equipped with her disarming charm, a phone and an aux cord, her compact guitar, and a makeshift toy ‘band’, Kaya captivated eyes and ears with astounding ease. Navigating her way through unnamed masters, audience requests, and expertly sung acapella, she brought the giddy crowd into her world to produce a rare and dizzying atmosphere that will be difficult to forget. 

Between introducing us to the plasticine characters forming her ‘band’, Kaya crooned to ‘Jolene From Her Own Perspective’ - a track from her conceptual new album, ‘SAP’.  Later, she marvelled as the audience sang along to ‘Asexual Wellbeing’, laughing that “more than everyone singing to ‘Psych Ward’ or deep lyrics, it’s really you all singing “Jon Bon Jovi’s rosé” that gets me!”. Closing the set with ‘Mother Nature’s Bitch’ - an ode to taking life as it comes - Okay Kaya succeeded in infinitely amplifying her music’s magnetic wit with a performance that personified her vim for exploration and experimentation.

Written by Sally Clegg

Sunday 13th November: Courtney Barnett, Cate Le Bon, Big Joanie & Gretel Hanlyn at Roundhouse

Courtney Barnett by Millie Hudson

Finally, VOCAL GIRLS headed to Camden’s much-loved Roundhouse on Sunday for the final instalment of Pitchfork Festival London. Divided across two stages - the main venue and the more intimate studio space - Sunday’s line-up was incredibly cohesive, functioning almost as a who’s-who of progressive guitar music. Kicking off proceedings was Gretel Hanlyn, who kept talking to a minimum as she powered through multiple instrument changes and an impressively tight set. Things noticeably shifted up a gear with Hanlyn’s latest single, ‘Drive’ (which she discussed with VOCAL GILRS during a pre-performance interview), and it was when she leaned into this ‘90s, Hole-esque grunge that her sound was at its sharpest. 

Cate Le Bon by Millie Hudson

Upstairs, punk stalwarts Big Joanie commanded the venue’s main stage with ease, interspersing their fierce performance with interesting - and often humorous - anecdotes about the meaning behind each song. Cate Le Bon followed, impressively showcasing her polymathic musicianship as she swapped between guitar, keys, and vocals over the course of a spellbinding set. 

Rounding off not only the evening or the festival, but indeed her European tour, Courtney Barnett proved herself adept at expertly navigating between older cult classics (‘Avant Gardener’) and more recent cuts (‘Rae Street’). Joined onstage at one point by “[her] friend, Cate Le Bon” for an extended guitar jam, Barnett’s performance had the crowd hooked for its entirety. By the opening bars of penultimate track ‘Pedestrian at Best’, even the most reserved of audience members were dancing wholeheartedly; not bad for a Sunday night.

Courtney Barnett by Millie Hudson

Written by Daisy Carter